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NOV 


-''^GICAL  ?,iV^ 


CHRISTIAN  REVIEW. 


(tbilors. 
rilANKLlX     AVILSOX. 
OKO.    r>.    TAYLUll. 


3issist;-mt'(L'bitor5. 

WILLIAM  11.  WILLLVMS,  P.O. 

L.  AV.  SEELEY.  J.  1\.  KEXDllICK. 


yO.  XCIL-ArillL,  18.5S, 

VOL.    XXIII. 


BALTIMORE : 
TRACT  HOUSE,  73  FAYETTE  STREET. 

-  SIIELI)OX,nLAKKMAX&(0..  llo  XASSAl'  ^ 

lIosTox:  WILLTAM  IlKATH,  70  COnXIIILL. 
ivRLLSTOx:  SMITH  &  WliILI>EX,  220  KING  h^TRKLI 


LSoJ^. 


C^Tbc  Postage  on  thi?uork,  ty  the  new  law,  whrni)ftid  lu  idva: 
or  14    cents  a  3-car. 


imbcr. 


Art.  1 .— CIIAnACTKR  AND  LlTKHAllV  INFIJKNCE  OF  ERA."^ 
MIS.— By  Win.  C.  Wilkin-on,  Rochester.  N.  Y 

'•     11— HEUGIOrS  PERSECUTION   IN  VIRCFNTA  — Hr  Prof. 

Geo.  E.  Dabncy,  Richmond,  Vft . 190 

•  111.— JA^MES  MONTGOMERY.- DyS.  F.Miuuk  i'.  i-.  b.-ron. 

Mass , .^ 219 

'•     IV.— CONGREGATIONAL  MUSIC— Dy  Rev.  G.  W.  Ilervey, 

Canton,   Mass "  ' 

•  •     V.—QrALIFICATIOVS  F(  iT^  TUT.  T  OT.'DS  SUPPER.- Edito- 

rial,—G.  B.    i  2C4 

..     VI.—TllE  NEW  THEOLOGY  AND  Tii  HOLD.— By  Prof.  T.  F. 

Curtis,  Lcwisburjr.  Pa 200 

i-    VII.—NOTICES  OF  NEW  PUBLICATIONS r^.23 


SPECIAL  NOTICE. 


Sill  scribcrs  will  find  tluir  bills  or  receipts  attached  to  the  inside  of  the  xvrnp- 
pcrs  of  tlic  present  number.  Tl-.e  Itills  are  made  out  accoidin<:  to  the  published 
terms,  viz.,  at  .$o  .'j(>  j^cr  annum,  for  each  past  year.  With  the  hope,  houevcr, 
of  securing  jtrompt  layment,  il:e  PioprietorsAvill  receive  .^r.'i  (m  per  annum 
for  each  jmft  yn:,-  /rem  all  vrho  remit  to  this  q}icf  lijort  June  let.;  after  tha! 
lime,  the  bilL- V.  ill  be  placed  in  tl:e  hauels  of  CoilecturS;  and  tto  dtdurdc n  trill  be 
allotcol. 


Kiitf  red  arconliiiR  to  art  of  Ccngicss  in  the  year  lt57,  in  the  Clerk's  Office  of  the  Dis- 
tiict  Court  Joi  tbeitatcol  .Araryland. 


1858.]  Congregational  Sin 


Art.  IY.— congregational  MUSIC. 

The  writer  of  the  History  of  Christian  Worship  in  tho 
Nineteenth  Century  will  be  liable  to  just  criticism,  if  he 
shall  omit  to  notice  the  reform  in  cliurch  music,  whicli  has 
been  going  on  for  the  past  few  years.  In  some  churches, 
indeed,  the  work  proceeds  slowly  ;  in  others  it  has  not  com- 
menced ;  but,  in  many  of  the  more  influential  ones,  it  is 
thoroughly  and  completely  established.  This  movement, 
as  we  all  know,  is  towards  the  practice  of  congregational 
singing,  either  Avith  or  without  the  aid  of  the  choir. 
Where  the  choir  keeps  its  ancient  place,  it  is  made  auxil- 
iary to  the  voices  of  common  worshippers ;  where  it  is  dis- 
persed, the  precentor  takes  his  place  under  the  pulpit,  to 
select  the  tune,  give  the  key-note,  and  lead  the  congregation, 
according  to  the  custom  of  the  English  and  Scotch  churches. 

The  future  historian  will  perhaps  find  it  easier  to  chron- 
icle, than  to  account  for  the  movement  referred  to.  He 
may  not  be  certain  whether  it  is  the  result  of  a  deeper  and 
more  active  spiritual  life,  or  a  means  of  attaining  a  more 
heart-felt  devotion,  or  simply  an  expedient  to  render  the 
service  more  attractive  to  pew-holders.  If,  however,  this 
reform  shall  be  found  by  the  historian  to  have  been  attended 
by  a  revival  of  true  piety,  he  will  be  at  no  loss  in  determ- 
ining its  causes  and  effects.  Thus  much  is  certain,  there  is 
a  very  common  conviction  that  the  congregation  ought  to 
take  a  more  active  part  in  public  worship. 

It  augurs  well  for  the  progress  of  this  reform,  that  it  was 
set  on  foot  after  long  preparation.  Music  has  now  for  a 
good  while  been  regarded  as  an  important  part  of  general 
education.  It  has  been  taught  to  untold  multitudes  of 
children  in  common  schools,  in  Sunday  schools,  and  in 
academies  of  music.  What  is  better,  the  music  they  have 
learned  to  sing  is  social  and  congregational.  These  child- 
ren know  what  it  is  to  lift  up  the  voice  in  multitude,  and 
ever  fresh  in  their  memories  will  abide  the  ])ower  of  confed- 
erate melodies. 


242    •  Congregational  Singing.  [April, 

One  of  the  first  apostles  of  popular  music  was  Joseph. 
Mainzer.  Born  at  Treves  in  1801,  he  finished  his  musical 
education  at  Rome.  Before  leaving  the  Eternal  City,  he 
was  invited  to  a  farewell  party  by  Thorwaldsen.  All  the 
artists  of  the  day  were  present,  and  joined  in  singing  his 
compositions.  On  returning  home,  he  published  his  first 
elementary  work— the  Singschule — which  was  introduced 
into  the  schools  of  Prussia  as  the  standard  text-book.  We 
afterwards  find  him  at  Paris,  teaching  gratuitously  three 
thousand  workmen.  But  government  was  alarmed.  The 
blended  voices  of  three  thousand  laborers  were  terrific  to  op- 
pression ;  the  police  threatened,  and  left  it  to  Mainzer's 
choice,  either  to  remain  in  Paris  without  these  classes  of 
poor  men,  or  to  seek  elsewhere  a  field  for  free  popular 
instruction.  He  did  not  hesitate  to  resolve  on  the  latter. 
He  now  very  naturally  turned  his  thoughts  toward  Eng- 
land, where  the  people  were  permitted  to  sing  and  shout  to 
their  hearts'  content.  He  set  out  for  London  ;  and  England 
and  Scotland  thenceforward  became  the  fields  cf  his  musical 
labors.     He  died  at  Manchester  in  the  year  1851. 

Mainzer's  gift  first  discovered  itself  while  he  was  acting 
as  an  engineer  of  the  mines  beneath  the  Saarbuok  Mount- 
ains. Here  he  would  relieve  the  tedium  of  endless  night, 
by  composing  choruses,  and  teaching  them  to  the  miners, 
whom  he  thus  led  both  in  labor  and  in  song.  The  popular 
chorus  seems  ever  to  have  been  the  ofispring  of  toil.  The 
Song  of  Moses,,  which  the  children  of  Israel  sung  on  the 
shores  of  the  Red  Sea,  must  have  been  learned  in  part  while 
they  were  yet  murmuring  under  their  task-masters  in  Egypt. 
The  Greeks  found  their  Dithyrambics  in  the  land  of  the 
Nile,  and  who  shall  say  that  the  walls  of  the  pyramids  did 
not  go  up  amid  the  wild  shouting  of  the  same  ?  And  who 
does  not  know,  that  the  negroes  employed  in  our  southern 
sea-ports  are  revolutionizing  our  naval  music.  Their  voice 
is  heard  on  every  sea.  Their  choruses  are  sung  by  all  our 
American  sailors  with  a  heartiness  that  may  well  make  the 
jealous  bones  of  Dibdin  rattle  in  his  coffin. 

As  to  the  comparative  merits  of  choir  music  and  congre- 
gational singing,  a  good  deal  has  been  spoken  and  written. 


1858.]  Congregational  Singing.  243 

But  as  the  question  has  generally  been  discussed  and  decided 
as  one  of  art  merely,  the  champions  of  choirs  have  not  un- 
frequently  come  out  of  the  contest  rejoicing  victors.  It  is 
not  difficult  to  prove  tliat  sacred  music  cannot  be  cultivated 
to  .the  highest  pitch  of  refinement,  when  it  is  wholly  aban- 
doned to  the  congregation,  and  that  some  fashionable  tunes 
must  fall  into  disuse  wherever  congregational  singing  pre- 
vails. Nor  is  it  hard  to  expatiate  on  the  common  faults 
and  abuses  of  such  singing.  But  when  the  moral  design 
of  sacred  music  is  chiefly  regarded,  the  question  wears  a 
very  diflcrent  appearance.  It  is  in  this  latter  aspect  that 
we  undertake  to  view  the  subject.  Some  professors  of  music 
may  regard  our  remarks  with  a  derisive  smile,  nay,  they 
may  call  us  a  Marsyas,  and  threaten  to  flay  us  alive.  But 
we  must  take  leave  to  say  to  them  beforehand,  that  we 
would  rather  die  with  Marsyas  than  live  with  them,  and 
that  we  would  hazard  as  little  as  they  often  do,  were  we  to 
assert  that  Marsyas  died  a  martyr  to  the  cause  of  popular 
music,  at  the  hands  of  the  elegant,  but  proud  and  exclusive 
Apollo. 

It  is  a  most  significant  fact,  that  all  the  great  reform- 
ations were  marked  by  the  revival  of  congregational  sing- 
ing. When  the  statue  of  Memnon  was  visited  by  the  first 
rays  of  the  morning  sun,  it  gave  forth,  in  honor  of  the 
light,  the  most  melodious  and  harmonious  sounds.  Even 
so  when  the  Sun  of  Righteousness  shines  upon  the  Church, 
she  is  vocal  with  general  praise.  The  truth  of  God,  by  re- 
storing man  to  harmony  with  himself,  with  his  fellow,  and 
with  his  God,  is  ever  the  prelude  uf  the  popular  anthem. 
The  Florentine  reformer  and  martyr,  Savonarola,  awakened 
a  taste  for  sacred  music  among  the  people,  and  moved  con- 
verted poets  to  compose  lauds  to  be  chanted  by  them  to 
well-known  airs.  The  Albigenses  practised  congregational 
singing,  and  when,  in  1210,  Simon  de  Montfort,  their  per- 
secutor, had  lighted  a  pile  for  their  destruction,  a  hundred 
and  forty  of  them  sang  psalms  while  they  were  precipita- 
ting themselves  into  tlie  flames.  The  followers  of  Hubs 
were  equally  fond  of  psalmody.  Luther  and  Zwingle  re- 
vived their  mode  of  singing  in  Germany  and  Switzerland. 


244  Congregational  Singing,  [April, 

It  prevailed  in  Switzerland  until  the  year  1543,  when  it 
was  superseded  hy  the  sacred  music  of  the  Huguenots.  In 
France,  the  metrical  psalms  of  Clement  Marot  were  sung 
by  all,  even  by  the  King,  Francis  I,  the  Queen,  and  the  no- 
bility, to  the  tunes  of  the  most  favorite  songs  of  the  time, 
in  spite  of  the  envious  thunders  of  the  Sorbonne.  Marot, 
fleeing  from  France,  was  received  at  Geneva  by  Calvin,  who 
wrote  a  preface  for  his  metrical  psalms,  and  so  obtained  for 
them  universal  adoption  among  his  converts.  From  about 
the  year  1553,  to  sing  Marot's  psalms  was  regarded  in 
France  as  a  declaration  of  heretical  principles,  and  ^^  Psalm- 
dist"  became  another  name  for  Reformer,  Huguenot  and 
Calvinist.  In  1558,  according  to  Beza,  large  numbers  of 
Huguenots  assembled  in  the  Prez  aux  Olercs  at  Paris,  and 
sang  psalms  for  several  days  together.  The  King  of  Nav- 
arre and  many  Huguenot  nobles  were  of  this  congregation. 
The  University  was  hard  by,  and  some  of  the  popish  pro- 
fessors and  students  must  have  been  annoyed  by  so  much 
heretical  singing.  Roger  Ascham,  in  a  letter  from  Augs- 
burg, dated  the  14th  of  May,  1551,  writes:  '^It  is  nothing 
to  hear  in  a  church  of  that  city,  three  or  four  thousand  people 
singing  at  one  time." 

What  added  to  the  commotion  produced  by  these  new 
sounds,  was  the  contrast  they  presented  to  what  had  hitherto 
been  heard  in  the  churches.  We  must  remember  that  the 
words  sung  had  ever  been  those  of  an  unknown  tongue,  and 
conveyed  neither  sense  to  the  minds,  nor  inspiration  to  the 
hearts  of  the  congregation.  The  only  sacred  music  known 
in  Europe  up  to  that  time,  had  been  the  plain  chant  and 
descant,  performed  by  the  ecclesiastics  in  choirs,  whose  per- 
petual chantings  and  intonings  had  no  charm  for  the  people. 
In  the  reign  of  Henry  VIII,  the  first  step  was  taken  towards 
rendering  church  music  popular,  by  translating  some  part 
of  the  church  service  into  English.  The  Puritans,  in  the 
days  of  Queen  Elizabeth,  demanded  congregational  singing, 
cost  what  it  might.  To  secure  this,  they  silenced  the  ca- 
thedral service,  both  vocal  and  instrumental.  They  insisted 
on  singing  not  only  the  psalms,  but  all  the  rest  of  the 
Scriptures,  including  the  genealogies,  and  sounding  them 


1858.]  Congregational  Singing.  245 

syllable  by  syllable,  assigning  as  a  reason  for  such  an  abuse 
of  words,  and  annihilation  of  poetry,  the  absolute  necessity 
of  such  a  plain  and  simple  kind  of  music  as  would  suit  the 
whole  congregation.  Bi«liop  Jewel,  in  his  letter  to  Peter 
Martyr,  dated  March  5th,  15G0,  says :  '^  A  change  now  ap- 
pears more  visible  among  the  peoj)le,  which  nothing  pro- 
motes more  than  inviting  them  to  sing  psalms.  This  was 
begun  in  a  church  in  liondon,  and  did  soon  spread  itself 
not  only  through  the  city,  but  in  the  neighboring  places. 
Sometimes  at  St.  Paul's  Cross  there  will  be  six  tliousand 
people  singing  together." 

In  Scotland,  the  Reformation  enlivened  its  triumphs  with 
poj^ular  song.  When,  at  intervals,  the  people  reposed  from 
breaking  images  and  pulling  down  cathedrals,  tliey  passed 
the  time  in  singing  praises.  After  the  poi)ulace  had  as- 
saulted the  bishops  and  the  Queen  Regent  in  her  own  pal- 
ace, and  destroyed  the  statue  of  St.  Giles,  attempts  were 
made  to  arrest  the  leaders,  but  they  assembled  in  compa- 
nies, singing  psalms  with  such  spirit  and  vehemence,  that 
the  officers  were  confounded.  The  godly  zealots  found 
themselves  literally  '^  compassed  about  with  songs  of  deliv- 
erance." 

In  the  dawn  of  the  commonwealth,  wlien  Puritan  princi- 
ples came  to  wield  tlie  civil  power  of  the  British  people_,  one 
of  the  first  reforms  undertaken  was  in  the  matter  of  church 
music.  Tlie  Westminster  Assembly  of  divines,  in  IfUi,  en- 
joined as  the  duty  of  all  to  sing  psalms  together,  in  the  con- 
gregation, as  well  as  privately  in  the  family.  In  singing 
psalms,  the  voice  was  to  be  audibly  and  gravely  ordered, 
but  the  chief  care  was  to  be,  to  sing  with  the  understanding, 
with  grace  in  the  heart,  making  melody  unto  the  Lord.  In 
order  that  the  whole  congregation  might  join  in  singing, 
every  one  was  to  have  a  psalm-book,  and  all  persons  not 
disabled  by  age  or  otherwise,  were  to  be  exhorted  to  learn 
to  read.  Meanwhile,  for  the  benefit  of  the  many  who  had 
not  as  yet  learned  to  read,  it  was  ordered  that  the  minister 
or  some  fit  person  appointed  by  him,  should  read  the  psalms, 
line  by  line,  before  they  were  sung. 

CromwelPs  soldiers  were  mighty  in  praise,  as  well  as  in 


246  Congregational  Singing.  [April, 

prayers.  The  psalms  were  their  war-songs,  and  to  the  dis- 
solute cavaliers  a  great  army  of  Roundheads,  chanting  the 
songs  of  Zion,  must  have  appeared  terrible — beyond  descrip- 
tion terrible, — for  the  sight  and  the  sound  awakened  fear 
for  both  body  and  soul.  At  this  period  the  Royalists  kept 
up  the  cathedral  service,  with  its  choir  and  organ,  while 
their  adversaries,  abhorring  both,  believed  that  the  best 
music  was  the  mere  singing  of  psalms  by  the  entire  congre- 
gation. There  is  on  record  only  one  instance  in  which  a 
compromise  was  made  between  these  two  forms  of  worship, 
and  it  is  singular  enough  that  this  occurred  at  York,  during 
the  siege,  in  1644,  while  the  town  was  the  stronghold  of  the 
Royalists.  Master  Mace,  in  his  '^  Musick's  Monument," 
describes  with  quaint  raptures  what  he  then  saw  and  heard 
at  York  Minster. 

"The  psalm-singing,"  says  he,  "was  the  most  excellent  that  has  been 
known  or  remembered  any  where  in  these  latter  days.  Most  certain  I 
am,  that  to  mj^self  it  was  the  very  l^est  harmonical  musick  that  ever  I 
heard ;  yea,  excelling  all  other,  either  private  or  public,  cathedral  music, 
and  iniiaitely  beyond  all  verbal  expression  or  conceiving.  Now  here  you 
must  take  notice,  that  they  had  there  a  custom  in  that  church — which  I 
hear  not  of  in  any  other  cathedral — which  was  this:  always,  before  ser- 
mon, the  whole  congregation  sang  a  psalm  together  Avith  the  choir  and 
the  organ.  You  must  also  know,  that  there  was  then  there  a  most  excel- 
lent, largo,  plump,  lusty,  full-speaking  organ,  which  cost,  as  I  am  cred- 
ibly informed,  a  thousand  pounds.  This  organ,  I  say,  when  the  psalm 
was  set,  before  the  sermon,  being  lot  out  unto  all  its  fulness  of  stops, 
together  with  the  choir,  began  the  psalm.  Now  when  the  vast  concord 
and  unity  of  the  whole  congregational  choir  came,  as  I  may  say,  thunder- 
ing on,  even  so  as  to  make  the  very  ground  shake  under  us,  ah !  the  un- 
utterable, ravishing  soul's  delight !  I  was  so  transported  and  rapt  up 
with  high  contemplation,  that  there  was  no  room  left  in  my  body  and 
spirit  for  any  thing  bc'.ow  divine  and  heavenly  raiHures."' 

Had  this  congregational  singing  been  recently  admitted 
into  the  cathedral  serv  ce,  with  a  view  to  conciliate  the  res- 
ident dissenters?  Or  was  there  yet  abiding  at  York  the 
ancient  Puritan  spirit  joined  to  Royalist  principles?  And 
was  it  because  there  was  so  much  of  this  spiritual  life 
amonor  them,  that  they  were  able  to  maintain  so  stout  a  re- 
sistance to  the  besieging  army  of  the  Roundheads?  These 
arc  questions  we  must  submit  to  the  bookworms,  who  have 
devoured  tlic  documents  that  afford  an  answer. 

Congregational  singing  ever  kept  abreast  with  the  doc- 


1858.]  Congregational  Singing.  247 

trines  of  the  Reformation,  and  was  not  a  mere  change  of 
ritual  with  which  the  regeneration  of  the  heart  liad  nothing 
to  do.  This  may  he  gathered  from  many  facts,  and  from 
this,  among  others,  that  in  Italy,  where  the  llef'urmation 
was  onl}''  felt  as  a  savor  of  death  unto  deatli,  there  was  noth- 
ing heard  during  all  this  period  hut  the  most  luguhrious 
canting  from  monks,  priests,,  and  professional  eunuchs. 
The  state  of  church  music  throughout  Italy  at  that  time,  is 
hardly  exaggerated  hy  the  satire  of  Salvator  Rosa,  a  j)art  of 
which  we  will  here  quote  from  an  indifferent  translation  : 

"  Who  blushes  not  to  hear  a  hireling;  ]>an(l, 
At  times  appointed  to  subdue  the  heart, 
Profane  the  temple  with  sol-fa  in  hand, 

When  tears  repentant  from  each  eye  should  start? 

What  scandal  'tis  within  the  sacred  wall 

To  hear  them  fijrunt  the  Vespers,  bark  tlic  Mass, 

The  Gloria,  Credo,  Paler  No.sler,  bawl 
With  the  vile  fury  of  a  braying  ass  ? 

And  still  more  scandalous  in  such  a  place, 

We  see  infatuate  Christians  listening;  round — 

Instead  of  supplicating  God  for  grace — 
To  tenor,  bass  and  subtleties  of  sound. 

And  while  such  trivial  talents  are  display'd 

In  howls  and  squeaks  which  wound  the  pious  ear, 

No  sacred  word  is  with  the  sound  convey'd 
To  purify  the  soul,  or  heart  to  cheer." 

About  tlie  middle  of  the  previous  century,  church  music 
in  Italy  had  lost  itself  in  artificial  intricacies.  Tiie  reputa- 
tion of  tlie  composer  rested  entirely  on  tricks  and  feats  of 
art,  in  the  performance  of  which,  the  meaning  of  the  words 
was  wliolly  disregarded.  Many  of  the  Miusses  were  little 
else  than  variations  of  well-known  profane  airs.  The  Coun- 
cil of  Trent,  in  15G2,  made  a  decree  against  music  of  this 
description,  and  there  were  tliose  wlio  undertook  a  reform  in 
this  regard.  Palestrina  did  much  to  improve  tlie  music  of 
the  choirs,  but  he  did  nothing  that  contributed  in  the  least 
degree  to  popularize  sacred  music.  Hymnology  itself  was 
forsaken  by  the  Divine  Spirit.  The  devotional  verse  of  the 
earlier  fathers  was  fraught  witli  the  experiences  of  the  re- 
newed heart ;    the   savor  of   the   sacrifice  testified  to  the 


248  Congregational  Singing,  [April, 

heavenly  origin  of  the  flame  that  flung  it  aloft  and  abroad. 
But  now  the  hymn  was  addressed  to  a  cross,  or  to  an  image 
of  the  Madonna,  and  was  as  cold  and  breathless  as  the  stone 
or  the  iron  which  it  adored.  It  descanted  long  and  wearily 
on  the  attributes  of  tlie  idol,  but  gave  forth  no  note  that 
spoke  of  the  soul  of  the  worshipper.  The  senses  drew  the 
heart  after  them  trailing  in  the  dust. 

How  the  mind  is  refreshed  as  it  turns  from  these  thirsty 
hymns  to  the  deep  fountains  of  Moravian  melody.  It  is 
the  music  of  living  waters  once  more.  It  is  the  hallelujah 
of  the  heart,  sung  by  many  congregated  voices.  It  is  no 
longer  man's  lips,  but  God's  works  that  praise  Him.  The 
hymns  of  the  United  Brethren  every  where  breathe  tones  of 
kindness  and  compassion,  love  and  gratitude.  They  every 
where  speak  to  the  heart  of  the  poor  and  the  meek ;  they 
have  a  note  for  every  mood  of  gracious  experience,  and  ev- 
ery event  of  Christian  life.  They  were  born,  not  of  the 
cliorists,  but  of  the  social  prayer  meeting,  and  of  the  great 
congregation.  They  have  ever  remained  with  their  kin- 
dred. Whitefield  and  the  Wesley s  afforded  them  a  large 
place  in  their  sympathies,  and  gave  them  out  to  be  sung  in 
their  meetings.  Wliitefield  was  decidedly  averse  to  the  ca- 
thedral m.usic  of  liis  day,  and  to  ^'the  linked  sweetness 
long  drawn  out,"  of  the  parochial  psalmody  of  England. 
He  would  not  suffer  a  bar  of  it  to  be  warbled  in  his  taber- 
nacle. He  thought  the  lively  ballad  airs  of  secular  origin, 
more  suitable  to  the  joy  and  gladness  of  the  new-born  soul. 
He  declared  that  it  was  shameful  to  praise  God  in  the  drawl- 
ing strains  of  the  Church,  and  downright  sacrilege  to  allow 
the  devil  the  monopoly  of  all  the  jubilant  music.  John 
Wesley  was  equally  persuaded  of  the  necessity  of  a  musical 
revival,  which  sliould  give  utterance  to  the  new  experiences 
of  his  converts.  Happening  one  day  to  hear  a  sailor  sing- 
ing in  the  street,  it  struck  him  that  the  melody  he  was  pour- 
ing forth  would,  above  all  others,  suit  the  words  of  some  of 
his  hymns,  and  greatly  delight  and  edify  the  people.  Know- 
ing how  to  v/rite  music,  he  wrote  down  the  notes  on  the 
spot,  introduced  them  into  his  meetings,  and  alw^ays  de- 
clared, that  it  was  the  most  solemn  and  appropriate  of  all 


1858.]  Congregational  Singing,  249 

the  tunes  which  were  sung  hy  his  followers.  The  churches 
of  the  Methodist  connection  have  always  ahounded  in  sacred 
sonnets.  Of  no  other  denomination  can  it  he  so  emphat- 
ically said,  '^The  joy  of  the  Lord  is  your  strength." 
Their  mountain  path  ever  breaks  forth  into  singing.  They 
do  not  forget  that  the  gospel  first  fell  on  the  ears  of  Beth- 
lehem shepherds  in  notes  of  heavenly  song,  and  they  tliink 
that  it  now  deserves  rather  to  be  sung  than  preached. 
How  many  of  their  converts  owe  their  first  warning  or 
invitation  to  the  clioruses  of  their  congregations?  Their 
social  music  has  done  much  to  make  their  religion  a  sunny 
and  gladsome  religion.  Does  any  doubt?  His  brethren 
resolve  all  his  doubts  with  a  hymn.  Is  any  disconsolate, 
or  lukewarm,  or  fearful?  From  hundreds  of  according 
voices  his  heart  receives  and  applies  the  remedy.  Painful 
are  their  searchings  of  heart,  agonizing  are  their  prayers, 
great  is  the  heaviness  of  their  souls,  as  they  look  on  a 
world  full  of  sin ;  but  on  casting  up  the  account  of  good 
and  evil,  they  find  a  large  balance  in  favor  of  doxologies 
and  hallelujahs.  Tliey  scatter  all  the  mystery  of  human 
woe,  the  moment  they  catch  tlie  strain  of  ''^  blest  voices 
uttering  joy." 

The  great  awakening  in  the  days  of  Jonathan  Edwards, 
like  that  of  all  living  nature  on  a  summer's  morning,  was 
attended  by  general  song.  Those  who  were  as  yet  only 
dreamers,  and  knew  not  what  they  said,  muttered  some- 
thing against  the  singing  of  ^' hymns  of  human  compos- 
ure," instead  of  the  Psalms  of  David.  But  Edwards 
defended  the  practice  in  a  masterly  manner,  and  was  of 
opinion,  that  to  complain  of  this  kind  of  singing  too  much 
resembles  the  Pharisees,  who  were  disgusted  when  the  mul- 
titude of  the  disciples  began  to  rejoice,  and  with  loud  voices 
to  praise  God,  and  cry  **  Hosanna  "  when  Christ  was  enter- 
ing into  Jerusalem. 

In  tliis  view  all  '^  evangelists  "  and  revivalists  concur. 
However  widely  remot<3  the  times  and  the  countries  wlierein 
they  have  flourished,  they  have  been  as  one  in  iiushing 
choirs  and  instrumental  music,  and  in  creating  a  taste  for 
plain,  lively  and  familiar  hymns.  They  have  solemnly 
6 


250  Congregational  Singing,  [April, 

declared  tliat  tlie  Divine  Spirit  is  very  jealous  of  every 
thing  that  sounds  like  the  orchestra,  and  that  the  effect  of 
a  sermon  may  he  utterly  neutralized  by  fashionable  church 
music.  Christmas  Evans,  speaking  of  the  English  Bap- 
tists, puts  forth  opinions  which  are  shared  by  all  ministers 
of  similar  character.  *^  Are  they  aware,"  writes  he,  ^*that 
tlie  spirit  of  revival  is  quite  as  independent  as  they  are? 
Our  English  brethren  will  have  their  own  way  ;  so  with  the 
spirit  of  revival.  It  is  as  the  lightning  flashing  from  the 
throne  of  Jehovah,  and  is  very  jealous.  What  may  be 
deemed  in  England  very  trifling — the  sound  of  an  organ  or 
a  fiddle  in  the  house  of  God,  instead  of  men  and  women 
with  contrite  hearts  singing  his  praises,  or  formal  sermons 
without  Christ  in  them,  or  long  prayers  without  faith, 
would  be  sufficient  to  offend  the  spirit  of  revival^  and  cause 
it  to  depart,  like  the  glory  from  Israel  of  old." 

Nettleton's  conscientious  care  in  providing  for  his  converts 
hymns  which  would  fan  instead  of  quelling  the  heavenly 
flame,  is  well  known,  and  will  long  be  kept  in  memory  by 
his  excellent  collection  of  ''  Village  Hymns."  All  are  prob- 
ably familiar  with  other  more  recent  illustrations  of  the 
same  tendency.* 

Now  facts  like  these  are  not  to  be  flung  aside  as  unworthy 
of  consideration.  Is  it  indeed  true  that  the  Holy  Ghost 
chooses  his  own  verse  and  his  own  music  ?  Is  it  true  that 
many  of  those  who  are  first  allured  into  the  sanctuary  by 
the  enchantments  of  choir  and  organ,  are  no  sooner  con- 
verted, than  all  these  polished  and  complacent  sounds  are 
counted  as  so  much  Chinese  discord?  Is  it  true  that  when 
a  church  is  all  melted  with  compassion  for  perishing  sin- 
ners, they  naturally  call  to  one  another,  in  congregational 
song,  to  rally  to  the  rescue?  Is  it  true  that  it  is  chiefly  in 
such  song  that  they  celebrate  the  conquests  and  the  tri- 


*''The  Hymn  and  Tune  Bool',''  beinjj;  the  expurgated  and  enlarged  edi- 
tion of  the  Plymouth  Collection,  lately  published  by  Messrs.  Sheldon, 
Blakonian  &  Co.,  New  York,  is  worthy  of  mention  in  this  connection. 
It  is  tlie  largest  collection  in  the  world,  containing  sixteen  hundred  hymns 
and  f<»ur  hundred  tunes.  But  what  is  better,  it  is  full  of  those  dearly 
beloved  fiuilts,  which  critics  have  been  long  laboring  to  correct,  to  the 
great  affliction  of  the  old,  and  to  the  no  small  sophistication  of  the  young 


1858.]  Congregational  Singing.  251 

umplis  of  regenerating  grace  ?  Is  it  true,  that  when  ye 
hear  the  sighings  of  tliis  wind-harp,  it  is  tlie  Spirit  who  is 
abroad,  and  *'  ye  hear  the  sound  thereof?"  Is  it  ever  true 
that  tlie  aged  Christian,  who  has  survived  many  spiritual 
vicissitudes,  when  laid  aside  from  spiritual  duty,  and,  it 
may  he,  lying  on  the  bed  of  deatli,  recollects  and  sings 
these  hymns  with  undecayed  raptures,  or  if,  through  infirm- 
ity, no  longer  able  to  sing,  says  to  his  attendants : 

"  Give  me  that  piece  of  song, 
That  old  and  antique  8ong  we  heard  last  night, 
Methouf^iit  it  did  relieve  my  passion  much 
JNlore  than  light  airs  and  recollected  terms 
Of  these  most  brisk  and  giddy-patcd  times. 
It  is  old  and  plain." 

But  we  are  told  that  the  revival  state  of  the  Church  is 
not  her  normal  and  ordinary  state — that  for  the  greater 
part  of  tlie  time  the  experience  of  her  members  is  of  a  dif- 
ferent description,  and  seeks  utterance  in  another  language, 
and  that  it  is  not  the  conversion  of  sinners,  but  their  own 
edification,  which  must  chiefly  engage  their  thoughts  and 
shape  their  endeavors.     But  this  does  not  in  the  least  trench 
upon  our  main  position,  that  the  triumphs  of  the  Divine 
Spirit  over  the  hearts  of  the  unregenerated  have  usually  been 
attended  by  congregational  singing.     That  some  churches 
may  keep  too  closely  to  revival  hymns  must  be  conceded. 
And  yet  there  is  nothing  in  the  practice  of  congregational 
singing  itself,  that  forbids  the  use  of  hymns  tliat  are  better 
adapted  to  the  Church's  march  and  encampment,  than  to 
her  day  of  battle  in  ^^  the  valley  of  decision."     So  far  from 
it,  we  may  very  naturally  conclude  that  the  kind  of  church 
music  which  is  the  language  and  instrument  of  the  Spirit 
in  regeneration,  will  be  equally  the  language  and  instru- 
ment of  the  Spirit  in  sanctification,  where  the  hymns  are 
selected  purposely  to  furtlier  the  latter  object.     More  than 
this,  if  congregational  music  has  helped  to  intrench  some 
churches  in  narrow  and  insufficient  views  of  tlieir  mission, 
would  not  this  same  music  be  e(|ually  potent  to  draw  them 
out  into  the  broad  field  of  Christian  exertion?     If  this  moral 
power  be  innocent  in  itself— and  it  must  be  admitted  that  it 


252  Congregational  Singing,  [-^P^^^^ 

is — why  should  it  not  he  attached  to  hymns  whose  direct 
aim  is  to  promote  the  growtli  of  every  Christian  grace? 

Most  choirs  fail  to  edify  tlie  mass  of  church-goerSj  partly 
from  want  of  devotional  feeling  among  their  memhership, 
and  partly  from  the  obligation  and  necessity  laid  upon  them 
to  maintain  their  reputation  as  musical  performers.  Both 
these  causes  conspire  to  make  choir  music  a  mere  fine  art, 
which  is  to  be  judged  of  only  by  a3sthetical  laws.  So  long 
as  they  are  acquitted  by  these,  they  think  they  have  nothing 
to  fear  from  those  who  regard  sacred  music  from  higher 
grounds.  Hence  these  singers  suppose  they  have  nothing 
to  do  but  stick  to  their  time  and  their  tune,  without  indulg- 
ing any  burst  of  feeling  inspired  at  the  moment  by  some 
turn  in  the  strain,  or  any  sudden  pathos  to  bring  the  tear 
into  the  eye,  or  any  mounting  away  like  the  lark,  as  the 
soul,  expanding  with  jubilant  melody,  soars  to  meet  the 
sunrise  of  heavenly  truth.  Exposed  to  a  remorseless  crit- 
icism, they  dare  not,  if  they  would,  venture  on  the  inspira- 
tions of  right  feeling.  They  do  not  stand  in  awe  of  the  few 
persons  of  a  different  taste,  who  say  :  ''  What  is  the  use  of 
your  voluntaries,  your  preludes,  and  your  interludes  ?  What 
possible  sympathy  can  I  have  with  a  solo  where  a  female, 
with  unabashed  front,  stands  up  in  the  presence  of  a  full 
congregation,  and,  with  out-stretched  neck,  screams  above 
the  voice  of  the  multitude  and  the  swell  of  the  organ,  like  a 
sea-gull  in  a  tempest?" 

The  prevailing  spirit  of  most  choirs  is  sadly  at  war  with 
the  proper  objects  of  public  worship.  The  members  being 
for  the  greater  part  young,  and  abandoned  to  the  gaieties^ 
if  not  the  vices  of  youth,  and  meeting  to  entertain  the  con- 
o-regation,  rather  than  to  seek  any  spiritual  good,  frequently 
give  no  attention  to  any  otlier  part  of  the  service,  and  be- 
have as  if  the  Christian  religion  were  of  no  personal  conse- 
quence to  them.  Any  one  who  has  frequented  their  rehear- 
sals, and  been  witness  to  their  levities  on  such  occasions, 
when  the  joke  passed  merrily  around,  and  the  loud  laugh 
reverberated  through  the  sanctuary,  will  not  wonder  that 
they  have  lost  all  reverence  for  the  holy  place,  and  that 
they  are  stupidly  insensible  to  the  indecorums  they  commit 


1858.]  Congregational  Singing.  253 

at  every  service — indecorums  that  have,  perhaps,  for  months 
excited  the  remark  and  the  disgust  of  the  congregation,  and 
especially  of  the  minister,  who,  from  his  position  in  the 
pulpit,  is  compelled  to  face  the  entire  scene  of  disorder  and 
profanation.  * 

The  chorister  and  organist,  who  ought  to  he  exam])les  to 
the  rest,  are  engaged  with  sole  I'eference  to  their  musical 
attainments,  and  if  they  have  a  reputation  in  the  fashion- 
ahle  world  as  vocalists  and  pianists^  so  much  the  w^orse. 
Their  manner  of  lile  as  professors  of  music  is  too  well  known 
to  need  any  description  from  us.  Their  days  are  employed 
in  teaching  fashionable  songs,  many  of  whose  very  titles  are 
startling  to  those  who  have  been  accustomed  to  regard  art 
and  literature  in  their  moral  and  religious  bearings — songs 
fraught  with  delirious  passion — the  heart-breakings,  the 
heart-burnings,  tlie  moans  and  weepings  of  a  sentiment  too 
gross  to  be  romantic,  and  too  grovelling  to  be  poetic.  Their 
nights  are  passed  at  the  opera,  at  the  theatre,  at  the  fash- 
ionable party,  or  at  the  last  ^^  Grand  Musical  Festival," 
at  whicli  they  cannot  shine  unless  they  are  familiar  with 
the  devils  of  Der  Freischutz,  and  the  last  comic,  political 
and  bacchanal  song  of  the  day.  Is  it  to  be  expected  that 
men  who  have  passed  six  clays  amid  such  demoralizing  influ- 
ences, will  ajjpear  in  tlieir  place  on  the  seventh,  prepared  to 
sing  with  grace,  *^  making  melody  in  their  hearts  unto  the 
Lord?"  When  Leonardo  Justiniano  had  inundated  Italy 
with  his  love  songs,  he  was  able  indeed  to  avert  the  thun- 
derbolts of  excommunication,  by  composing  an  equal  number 
of  hymns  in  honor  of  the  holy  Virgin,  but  the  long  prosti- 
tution of  his  genius  was  a  poor  preparation  for  any  truly 
Christian  performance.  The  Italian  painters  and  sculptors 
who  one  day  worked  on  a  Cupid  or  a  Bacchus,  and  the  next 
on  an  angel  or  an  apostle,  gave  their  angels  tlie  airs  of  a 
Cupid,  and  their  apostles  the  colors  and  proportions  of  a 
Bacchus.  It  is,  accordingly,  no  wonder  that  these  profess- 
ors of  music  sliould  shed  the  malign  influence  of  tlieir  daily 
vocation  over  tlieir  part  of  the  Sunday  services  ;  that  they 
should  perform  choruses  and  duets  from  operas,  adapted  to 
Te  Demn   and  JubilantCj  and  that  they  should  play  the 


254  Co7igregatio7idl  Singing.  [April, 

*'  Fairy's  Dance  "  from  La  Bayadere  as  a  voluntary  while 
the  congregation  are  retiring. 

Now  if,  instead  of  such  ungodly  organists,  choristers, 
and  choirs,  we  liad  such  as  felt  that  a  spiritual  as  well 
as  artificial  preparation  is  needed  in  leading  the  devotions 
of  the  worshippers,  such  as  would  form  a  hahit  of  coming 
to  their  places  directly  from  secret  or  social  prayer,  what  an 
ally  of  moral  and  sj)iritual  forces  would  thus  he  hrought 
into  the  service  of  the  churches  of  our  land.  Merely  to 
listen  to  the  music  of  such  choirs  would  greatly  edify  the 
most  spiritual  person.  The  music  purged  of  all  operatic 
and  theatrical  associations,  would  he  marked  hy  such  a  holy 
dignity  and  simplicity  as  would  give  the  fittest  expression  to 
the  psalm  or  hymn,  and  so  find  a  prompt  response  in  the 
experience  of  every  pious  heart.  When  choirs  can  thus 
claim  kindred  to  that  which  sang  over  the  sheep-folds  of 
Bethlehem_,  then  may  the  shepherds  hear  without  joining 
the  song ;  when  choirs  thus  hreathe  the  atmosphere  of 
heaven,  and  Ijieir  prayers  are  smoking  in  the  celestial  cen- 
ser, then  may  St.  John  give  ear  in  silence,  while  they  cry, 
*'  Worthy  is  the  Lamb  that  was  slain." 

But  worldly  and  unspiritual  as  most  choirs  now  are,  it  is 
to  be  feared  that  there  is  such  a  corresponding  decline  of 
piety,  and  such  a  lack  of  musical  training  in  our  congrega- 
tions, that  little  would  be  gained  at  present  by  committing 
the  singing  to  the  latter  exclusively.  Wlien  the  Jews  had 
no  smiths  among  them,  they  Avere  compelled  to  go  down  to 
the  Philistines  to  sharpen  their  shares  and  coulters.  The 
choirs  must,  in  many  churches^  still  hold  their  place,  wliile 
they  ought  no  longer  to  be  regarded  as  alone  responsible 
for  the  part  of  worship  in  question^  or  as  any  other  than 
leaders  and  ministrants  of  congregational  music.  Those 
who  compose  and  give  out  hymns  must  still  place  much 
reliance  on  the  Asaphs  of  our  choirs,  for  any  thing  like 
fitness  and  skill  in  the  musical  worship  of  the  people. 

The  cause  of  congregational  singing  would  suifer  less  from 
the  silencing  of  instrumental  music,  particularly  that  of  the 
organ.  The  organ  is  chiefly  prejudicial  to  the  music  we  are 
commending,  because  of  its  exclusiveness,  and  of  its  mil- 


1858.]  Congregational  Singing.  255 

itating  against  verbal  articulation.  Its  sounds,  like  tliose 
of  all  other  instruments,  can  never  coalesce  with  those  of 
the  human  voice,  nor  can  tliey  cause  tliose  of  the  congrega- 
tion to  blend  among  themselves.  Its  imperial  thunders  are 
ever  drowning  the  words  of  the  hymn,  even  where  they  do 
not  altogether  swallow  up  all  vocal  sounds.  In  a  chorus  of 
voices  well  tuned  and  thoroughly  trained,  it  is  easy  to 
attain  to  complete  harmony.  Open  an  organ  upon  them, 
and  the  unity  and  concord  are  in  a  considerable  degree 
broken.  The  harmony  of  the  choir  may  indeed  itself  be 
preserved,  but  it  cannot,  along  with  the  organ,  form  one 
grand  body  of  harmony.  But  it  will  be  said  that,  how 
much  soever  the  organ  may  break  the  general  harmony,  it 
more  than  atones  for  this  by  the  force  and  energy  it  imparts 
to  the  voices  of  the  congregation.  But  the  fact  is,  that 
where  any  considerable  number  of  the  people  will  sing,  no 
such  assistance  can  be  needed.  They  will  have  force  and 
energy  enough  of  their  own.  It  is  only  the  feeble  choir, 
unsupported  by  the  people,  that  can  need  this  auxiliary. 

We  are  told,  however,  that  instrumental  music,  as  a  part 
of  divine  worship,  can  be  justified  by  Scripture  precept  and 
example.  This  we  ^ rant.  But  we  do  not  concede  that  all 
kinds  of  musical  instruments,  and  all  kinds  of  playing,  can 
claim  the  support  of  Divine  authority.  It  would  be  suffi- 
ciently difficult  to  prove  that  the  Levitical  service  admitted 
any  such  instrument  as  the  modern  organ  ;  or  if  it  can  be 
proved  that  the  trumpets  that  were  used  were  equally  clam- 
orous, it  would  be  hard  to  show  that  the  trumpeters  ever 
sounded  their  notes  simultaneously  with  the  singing.  It  is 
not  probable  that  the  Levitical  bands  would  have  had  the 
boldness  to  destroy  the  sense  of  the  Psalms  of  David,  as  most 
of  our  organists  have  the  hardihood  to  do.  Timotheus,  the 
Lacedemonian,  being  condemned  for  admitting,  contrary  to 
law,  more  than  seven  strings  to  his  lyre,  the  executioner 
was  on  the  point  of  cutting  away  the  new  strings,  when  the 
musician,  happening  to  discover  a  statue  of  Apollo  with  as 
many  strings  upon  his  lyre,  showed  it  to  the  judges,  and 
was  acquitted.  The  advocates  of  instrumental  music  might, 
no  doubt,   be  quite   as  shrewd  and  successful   in   finding 


256  Congregational  Singing,  [April, 

divine  authority  for  the  use  of  a  great  number  of  instruments 
in  divine  worship.  But  they  seem  at  present  disposed  to  con- 
tent themselves  with  one  large  instrument,  and  so  make  up 
in  dimensions  what  they  lack  in  numbers.  We  submit 
whether  tbis  is  an  improvement  on  the  Levitical  system. 
If  instruments  must  still  be  tolerated,  let  them  ba  smaller 
and  more  numerous.  Let  them  be  dispersed  in  various 
parts  of  the  congregation,  and  be  kept  strictly  subservient 
to  the  singing.  The  suggestion  has  something  better  than 
novelty  to  recommend  it.  Such  a  system  of  instruments, 
fitly  chosen  and  skillfully  played,  would,  in  our  judgment, 
avoid  the  derelictions  which  we  have  ascribed  to  the  organ^ 
besides  being  2:>ositively  helpful  to  the  singing  of  the  congre- 
gation. 

Tlie  general  neglect  of  congregational  singing,  and  the 
abandonment  of  sacred  music  to  choirs,  have  exerted  an  un- 
friendly influence  both  on  hymn-writers  and  musical  compo- 
sers, who  have  conspired  to  please  the  ear,  at  the  expense  of 
all  the  higher  attributes  of  sacred  music. 

They  have,  in  the  first  place,  swerved  from  that  simpli- 
city of  purpose  without  which  men  cannot  work  freely  or 
successfully.  Take,  for  proof  of  this,  what  has  come  to 
pass  in  the  kindred  art  of  painting.  So  long  as  the  paint- 
ers were  pious  men,  and  kept  to  the  single  intention  of  ex- 
pressing sacred  truth  and  Christian  experience,  they  put 
forward  their  subject  in  the  foremost  place,  and  kept  artistic 
excellences  in  due  subordination.  They  were  so  earnest  in 
their  love  of  truth,  that  they  often  showed  a  noble  scorn  of 
the  beauties  and  graces  of  tlieir  art.  Then  it  was  that  they 
gained  a  powerful  hold  on  the  hearts  of  the  common  people: 
for  they  ennobled  their  handiwork  by  wedding  it  to  noble  sub- 
jects. Identifying  themselves  Avith  tlie  cause  of  religion, 
they  deservedly  shared  her  triumphs.  But  the  moment 
their  degenerate  successors  made  heauty  the  object  of  art, 
they  began  to  lose  their  dignity  and  their  power.  By  de- 
grees, slow  at  first,  but  soon  very  rapid,  they  alienated  from 
them  all  the  sympathies  of  the  people.  None  but  men  of 
taste  and  refinement  could  appreciate,  or  affect  to  appre- 
ciate, all  that  was  of  any  value  in  their  works,  namely,  mere 


1858.]  Congregatwmd  Singing,  257 

matters  of  drawing,  coloring,  chiaroscuro^  and  foreshort- 
ening. It  has  been  said  that  one  reason  why  the  ancient 
musicians  wrought  sucli  wonders  by  their  skill,  was  that 
they  singly  aimed  to  excite  some  particular  passion,  affect- 
ion or  emotion,  and  made  the  whole  force  of  their  art  bend 
to  this  one  purpose.  Had  they,  like  most  moderns,  merely 
sought  to  please  the  ear  by  a  sweet  blending  of  parts  and 
voices,  cadences  and  concords,  they  might  have  accomplished 
an  object  so  mean  and  mercenary,  but  they  could  not  have 
gone  farther,  and  moved  the  deep  passions  of  the  human 
soul,  or  spoken  a  language  that  would  l^ave  been  heard  and 
heeded  by  our  common  nature,  whether  rude  or  cultivated.* 
This  lack  of  simplicity  of  purpose  leads,  in  the  second 
place,  to  a  lack  of  tliat  plainness  in  the  music  which  a  congre- 
gation requires.  When  music  becomes  complex  and  arti- 
ficial, it  ceases  to  be  understood  or  appreciated  by  any  except 
2)rofessors  and  amateurs.  There  may  be,  in  many  parts, 
too  wide  a  compass,  and  too  quick  transitions  of  voice^  to 
enlist  the  feelings  of  the  people.  Nice  and  skillful  turns, 
and  subtle  harmonies,  are  quite  beyond  their  taste  and  their 
comprehension.  A  full  appreciation  of  melody  and  rythm 
may  exist,  where  the  faculty  of  comprehending  and  receiv- 
ing pleasure  i'rom  complicated  harmonies  is  wanting  or  dor- 
mant. Pope,  Johnson,  Scott  and  Byron,  could  none  of 
them  find  pleasure  in  the  mazy  involutions  of  modern  mu- 
sic, while  to  simple  rythm  and  melody  they  were  highly 
susceptible.  Some  of  the  most  eminent  composers,  when 
left  to  consult  their  own  taste,  and  to  follow  the  unbribed 
feelings  of  their  own  hearts,  produced  compositions  very  dif- 
ferent from  those  which  were  the  offspring  of  tlieir  ambition 
or  their  selfisliness.  When  Stradella,  Scarlatti  and  Bonon- 
cini  studied  for  their  own   delight,  they  did   not  produce 


*  Gliick  was  of  opinion  that  tlie  ;;roat  fault  that  I'ornipts  an«l  <lel»ilitatefl 
all  arts,  is  that  of  overlooking  the  proper  object  of  art.  The  p(»et  hlind 
to  nature,  fails  to  interest,  because  his  vei'scs  are  more  the  language  of 
the  head  than  of  the  heart ;  the  painter  bent  on  imprnvin;:,  mther  than 
being  improved  by  nature, becomes  false,  and  therefore  unaffeitinp.  The 
musician  aims  at  fulness  and  brilliancy,  and  therefore  satiates  and  fa- 
tigues the  ear,  without  moving  the  soul. 


258  Congregational  Singing.  [April, 

songs  or  airs  calculated  to  astonish  the  hearers  with  the 
tricks  o£  the  singer,  but  cantatas  and  duets,  of  which  the 
sweetness  of  the  melody,  and  the  just  expression  of  fine  po- 
etical sentiments,  are  their  principal  praise.  If  there  was 
any  thing  in  which  they  displayed  mere  art,  it  was  perhaps 
a  madrigal  for  four  or  five  voices,  where  the  various  excel- 
lences of  the  melody  and  harmony  were  so  united  as  to  leave 
a  lasting  impression  on  the  mind.  The  same  may  he  said 
of  Handel.  A  music  which  pleases  only  the  educated  and 
the  refined,  will  ever  beget  an  afiectation  for  yet  another 
kind  of  music^  which  really  pleases  nobody,  but  which  is 
patronized  and  praised  solely  because  it  happens  to  be  in 
fashion . 

The  simplest  kind  of  church  music  is  the  chant,  in  its 
plain  and  ancient  form.  It  is  strange  that  those  who  are 
now  endeavoring  to  restore  singing  to  the  congregation, 
should  not  have  considered  how  suited  to  their  purpose  are 
the  chants  of  antiquity.  Denominational  prejudice  may 
cause  some  to  eschew  the  chant.  Such  may  overcome  their 
scruples,  by  reflecting  that  they  are  not  merely  following 
the  Puseyite  choir,  that  sings  it  in  the  church  on  the  other 
side  of  the  park,  but  also  the  congregations  that  sang  in  the 
Greek  churches  more  than  a  thousand  years  ago.  And  if 
they  will  make  their  selections  from  the  plainest  chants, 
they  may  encourage  themselves  with  the  thought  that  they 
are,  in  this  regard,  nearer  primitive  simplicity  than  their 
neighbors  are.  Nay,  even  more  ;  they  will  put  to  silence 
the  professors  of  music,  who  say  that  to  chant  well  is  very 
difficult,  and  that  nothing  is  so  ludicrous  as  the  attempt  of 
a  congregation  to  scramble  through  the  chant.*  Such  re- 
marks can  only  apply  to  the   most   artificial   of    modern 

"  Rev.  John  Jebl),  in  his  work  on  the  Choral  Service  of  the  Church  of 
En;;1and,  sjiys:  "  A  ^roat  anxiety  is  often  shown  so  to  regulate  the  reci- 
tative, as  that  each  word  and  syllable  may  be  pronounced  at  the  same  time 
by  the  whole  choir.  But  it  is  not  desirable  to  enforce  any  such  rule.  A 
certain  degree  of  license  ought  to  be  ])ormitted  to  each  singer,  so  as  to  allow 
of  that  devotional  freed(mi  and  elasticity  which  gives  so  much  life  to  the 
chant,  and  whicli  distinguishes  it  froju  metrical  psalmody.  This  is  (juite 
consistent  with  suflRcient  distinctness;  and,  I  confess,  I  should  l)e  sorry  to 
exchange  for  a  correct,  but  tame  and  mechanical  performance,  that  majestic 
roll  of  the  chant  which  resembles  the  voice  of  many  waters." 


1858.]  Confjregaticytial  Sinfjinfj.  259 

chants.  The  ancient  chants  are  the  simplest  music  known, 
and  consist  of  a  very  few  notes  perpetually  recurring.  In 
many  of  the  dissenting  churches  of  England,  the  whole 
congregation  are  found  competent  to  join  in  the  strains  of 
Fanal  and  Tallis,  and  the  lines  of  the  Gregorian  chant. 
The  pitch  should  not  be  so  high  that  most  of  the  congrega- 
tion cannot  comfortably  reach  it,  nor  so  low,  that  those  who 
are  so  disposed  might  not  make  use  of  its  octave.  Though 
chanting  is  no  difficult  feat  of  art,  it  may  not  be  wisest  to 
commence  with  it ;  for  the  reason  that  most  people  are  less 
familiar  with  it  than  with  florid  and  complex  tunes.  One 
means  of  rendering  it  more  popular  would  be  to  adapt  it  to 
some  of  those  old  hymns  which,  though  rough  and  irregular, 
maintain  the  mastery  of  popular  feeling. 

Next  to  the  chant,  tunes  of  long  or  common  metre  are 
best  adapted  to  the  use  of  congregations.  Of  this  class  Old 
Hundred  is  the  standard  and  model.  Among  its  merits,  its 
admirable  melody,  and  its  capability  of  admitting  a  great 
variety  of  harmony  are  not  the  least.  After  this,  such  tunes 
as  St.  Martin's,  Elgin,  Warwick,  Mear,  Bath,  Litchfield 
and  Little  Marlborough,  are  worthy  of  mention,  as  admi- 
rably suited  to  general  song.  All  great  bodies  move  slowly, 
and  the  tunes  that  are  designed  for  the  mass  of  the  congre- 
gation must  be  of  a  deliberate  character,  abounding  in  mi- 
nims and  semibreves,  rather  than  in  crotchets  and  quavers. 
It  is  a  remarkable  fact,  that  some  of  the  old  long  metre 
tunes  have  of  late  years  been  altered  to  quicker  time,  with 
a  view  to  make  them  more  acceptable  to  modern  choirs,  and 
more  conformable  to  i\\Q  notion  that,  if  you  set  a  congrega- 
tion to  singing  in  slow  time,  they  are  sure  to  *^  drag."  But 
we  submit  whether  this  "  dragging  "  be  not  the  result  of  a 
common  ignorance  of  the  old  long  metre  tunes — a  result  to 
which  choirs,  by  rarely  singing  them,  have  greatly  contrib- 
uted ;  for  want  of  practice,  and  forgetful ness,  are  as  potent 
a  cause  of  **  dragging  "  in  choirs  as  in  congregations.  Be- 
sides, it  will  ever  hold  good  that  the  demand  fur  florid  and 
lively  tunes  is  proportional  to  the  want  of  deep  and  serious 
feeling.  The  lack  of  momentum  must,  it  is  thought,  be 
made  up  by  an  increase  of  velocity.     When  this  is  not 


260  Congregational  Singing,  [April, 

found  sufficient,  noise  and  extravagance  are  added.  Now 
whao  is  tlie  cliaracter  of  that  music  whicli  Milton  describes 

as 

**  Able  to  create  a  soul 
Even  under  the  ribs  of  death  V 

Is  it  the  cry  of  the  fireman,  or  the  bawl  of  tbe  huckster  ? 
No,  no.     It  is 

**  A  soft  and  solemn  breathing  sound '' 

— a  description  of  music  that  strikingly  corresponds  to  the 
productions  of  the  grand  masters  of  song.  Whether  trans- 
ported with  joy  and  gladness,  or  overwhelmed  with  sorrow, 
the  soul  ought  nevertheless  to  repose  free  and  happy  in  the 
outpourings  of  its  melody.  Such  is  the  nature  of  all  the 
best  sacred  music.  Such  is  the  melodious  expression  of  Pa- 
lestrina,  Durante,  Lotti,  Pergolese,  Gluck,  Haydn  and  Mo- 
zart. The  serene  calri  of  the  soul  is  never  disturbed  in  the 
compositions  of  these  great  masters. 

But  it  will  be  asked,  are  not  a  rapid  and  loud  utterance 
the  natural  expression  of  feeling?  Our  reply  is,  yes, 
feeling  of  a  certain  kind,  but  what  we  want  in  music  is  not 
mere  bursts  of  feeling,  but  those  things  that  cause  feeling. 
Here  is  a  principle  equally  important  to  the  composer  and 
the  orator, — a  principle  generally  disregarded  by  both  ;  and 
for  this  reason,  perhaps,  that  the  common  people,  who  can 
never  be  made  to  comprehend  it,  would  not  set  a  proper 
value  on  their  productions,  were  they  to  study  in  the  light 
of  it.  The  most  pathetic  orators  have  always  been  calm 
and  tearless  themselves.  They  know  that  the  logic  of  the 
heart  never  jumps  to  its  conclusions ;  they  know  that  it  is 
by  slow  and  quiet  processes  that  the  fountains  of  feeling  are 
fed  from  the  deep  reservoirs  of  the  soul.  In  the  most  an- 
cient music  of  the  Church,  in  the  Crucijixus,  for  example, 
the  pathos  does  not  consist  in  the  metrical  and  musical  ut- 
terance of  the  grief  which  the  contemplation  of  the  Passion 
inspires,  but  in  profound  thoughts  awakened  concerning  our 
Lord  betrayed,  arrested,  condemned,  crucified  and  laid  in 
the  tomb.  The  power  is  laid  in  the  calm  meditations  which 
are  unrolled  in  the  course  of  the  harmony  and  the  melody. 


1858.]  Congregatiaiial  Singing.  201 

To  understand  this  principle,  we  have  hut  to  reflect  that  the 
woe  felt  hy  our  Lord's  first  disciples,  when  they  saw  him 
crucified,  could  not  have  been  what  it  was,  without  prepa- 
ration. Their  hearing  his  sweet  discourses,  their  oehohling 
the  miracles  he  had  wrought  for  their  benefit,  the  enjoying 
of  his  presence  and  his  friendship  on  the  dusty  road^  in  the 
field,  on  the  mountain,  in  the  cottage,  and  on  the  sea ;  the 
knowledge  he  had  imparted,  the  hopes  he  had  inspired — 
these  and  a  thousand  other  circumstances  made  up  the  in- 
gredients in  their  cup  of  sorrow.  So  it  is  the  proper  work 
of  the  composer,  the  poet  and  the  orator  who  v,^ouid  be  pa- 
thetic, to  ripen  and  mellow  the  hearts  of  others,  rather  than 
to  demonstrate  to  them  that,  as  their  own  hearts  are  already 
ripe  and  mellow,  so  should  those  of  their  audience  be  in  tlie 
same  state. 

A  tliird  cause  of  the  moral  impotency  of  modern  choir 
music,  is  the  neglect  of  articulation.  We  refer  now  more 
especially  to  the  distinct  rendering  of  the  words  of  tlie 
psalm  or  hymn.  One  principal  reason  why  the  rude  music 
of  antiquity  wrought  sucli  wonders  is,  that  it  was  married 
to  verse,  and  that  its  chief  aim  was  to  give  every  syllable  and 
word  a  just  and  worthy  expression.  It  is  probable  that  tlie 
power  of  all  music  is  principally  owing  to  the  poetic  sug- 
gestions it  starts,  or  to  its  awakening  the  recollection  of  the 
verses  with  which  its  strains  are  somehow  associated  in  the 
mind.  We  are,  it  is  true,  told  of  music  that  has  exercised 
lordship  over  savage  beasts.  In  such  instances  it  certainly 
was  not  the  poetry  that  charmed.  But  it  is  one  thing  for 
music  to  subdue  beasts,  and  quite  another  for  it  to  charm 
men.  To  master  a  reasonable  being  by  music,  it  is  neces- 
sary that  it  should  either  give  utterance  to  some  poetic  sen- 
timent, or  excite  to  the  origination  of  poetic  sentiment. 
We  have  seen  that  the  reformers  sacrificed  choir,  or^'an,  and 
all  melody  and  harmony  to  the  distinct  and  accurate  express- 
ion of  every  word  of  the  psalm  or  hymn.  They  liad  more 
faith  in  the  power  of  inspired  verse,  than  in  all  the  witch- 
eries of  melodious  sounds.  Did  they  lose  aught  of  edifica- 
tion by  this  sacrifice?  Not  they.  Too  well  w^ere  they 
versed  in  all  gracious  experiences,  and  too  familiar  were 


262  Congregational  Singing.  [April, 

they  with  all  the  influences  that  becloud  or  brighten  them. 
The  temptation  is  strong  to  disregard  the  text  when  it  is 
expressed  ever  so  well,  but  it  is  stronger  when  a  painful  at- 
tention is  necessary  to  catch  the  words.  Augustine,  who 
had  often  heard  the  Ambrosian  chant  in  its  primeval  purity, 
says:  ''When  the  music  affects  me  more  than  the  subject 
of  the  song,  I  confess  that  I  sin  grievously,  and  then  I  wish 
not  to  hear  the  singer."  Who  does  not  know,  that  some- 
times the  mere  reading  of  psalms  and  hymns  to  a  congre- 
gation has  roused  deep  religious  feeling,  and  kindled  the 
flame  of  holy  and  earnest  devotion?  Now  shall  all  this 
spiritual  power  be  lost  for  the  sake  of  catering  to  the  taste 
of  a  few  dilettanti  f 

It  is,  we  know,  a  maxim  received  by  all  composers,  that 
nothing  is  so  melodious  as  nonsense.  Hence  it  is  that 
thought  is  so  sparsely  sprinkled  over  modern  song,  and  that 
all  hymns  are  too  harsh  and  stubborn  to  be  articulated  by 
the  choirs  of  these  times.  How  grievously  are  the  best 
hymns  tortured  and  mangled,  as  if  to  murder  sacred  poetry 
were  the  consummation  of  fine  art.  To  describe  the  process 
were  to  tell  again  the  old  story  of  Orpheus  torn  in  pieces 
by  the  Thracian  women,  under  the  rage  and  excitement  of 
their  Bacchanalian  orgies.  A  general  return  to  congre- 
gational singing  would,  we  humbly  conceive^  correct  this 
great  and  growing  abuse. 

As  the  proper  language  of  the  religious  emotions,  singing 
should  be  practiced  by  all  who  are  not  physically  discapaci- 
tated  for  this  part  of  Divine  worship.  If  we  neglect  the 
musical  utterance  of  devout  feeling,  we  abandon  it  to  sure 
and  deplorable  decay.  Whence  is  the  general  lamentation 
of  lukewarmness?  May  it  not  spring,  partially  at  least, 
from  the  habitual  neglect  of  the  duty  of  singing  the  praises 
of  the  Lord.  As  an  exercise  for  the  holy  passions,  there  is 
no  other  part  of  worship  that  can  supply  the  place  of  this 
sacred  music. 

The  influences  of  congregational  music  are  the  most  fit- 
ting symbol  of  those  of  the  Divine  Spirit.  Both  are 
mysterious,  enrapturing  and  resistless,  and  both  are  otl- 
cn  so  blended,  that  it  is  not  easy  to  regard  them  apart. 


1858.]  Congregational  Singing.  263 

They  bear  some  resemblance  to  the  same  Divine  Being  in 
his  spiritual  substance,  for  they  seem  to  enter  into  the  very 
soul,  and  diffuse  satisfaction  and  delight  over  all  its  facul- 
ties. 

As  a  means  of  grace,  congregational  music  is  both  com- 
mon and  effectual.  How  often  has  the  Divine  Spirit  re- 
stored the  harp  of  tlie  soul  to  holy  symphony,  wliile  He  was 
striking  its  discordant  strings  in  the  services  of  the  sanctu- 
ary. We  recollect  having  seen  at  Rome  a  painting  by  one 
of  the  Bassani,  the  subject  of  which  was  the  angels  appear- 
ing to  the  shepherds  of  Bethlehem.  Some  of  the  shepherds 
were  roused  from  their  slumbers  by  the  celestial  glory  that 
shone  upon  them,  others  by  the  anthem  of  the  heavenly 
host.  This  last  idea  was  to  us  as  poetic  as  it  was  truthful. 
We  know  that  some  are  spiritually  awakened  by  the  light 
of  the  gospel,  while  others  who  have  a  more  sensitive  frame, 
are  startled  by  its  music.  That  Being  wlio  deliglits  to  glorify 
His  almightiness  by  vanquishing  the  greatest  by  the  help 
of  the  smallest,  has  often  bidden  a  mere  song  be  stronger 
than  the  strong  man  armed. 


265  Qaalifications  for  the  Lord^a  Supper.     [April, 


Article  V,— QUALIFICATIONS    FOR    THE    LORD'S 

SUPPER. 

Terms  of  Communion ^  iviih  a  particular  view  to  the  case  of 
the  Baptists  and  Pedohoptists.  By  Rev.  Robert  Hall^ 
A.M.     (Published  in  1815.) 

Communion:  the  Distinction  between  Christian  and  Church 
Fellowship,  and  hetioeen  Communion  and  its  Symbols,  dtc.j 
etc.  By  T.  F.  Curtis,  A.M.,  Professor  of  Theology, 
Howard  College,  Ala.  Philadelphia  :  American  Baptist 
Publication  Society.     1850. 

Open  Communion ;  or,  the  Principles  of  Restrictive  Commun- 
ion Examined  and  proved  to  be  Unscriptural  and  False, 
dc,  dc.  By  S.  W.  Whitney^  A.M.,  late  Pastor  of  the 
Baptist  Church,  Westport,  N.  Y.     M.  W.  Dodd.     1853. 

Between  Baptists  and  Pedobaptists  there  is  strictly  no 
difference  as  to  what  is  called  Close  Communion  ;  since  the 
latter,  as  much  as  the  former,  close  the  door  to  the  Lord's 
table  against  all  whom  they  regard  as  unba^otized.  Be- 
tween them,  then,  the  whole  controversy  turns  upon  the 
question,  "  What  is  baptism?"  Accordingly,  with  intelli- 
gent and  strict  Pedobaptists,  the  argumentum  ad  hominem, 
which  assumes  that  baptism  is  a  prerequisite  to  the  Supper, 
is  alw.iys  sufficient  to  silence  objection  to  Baptist  practice 
with  reference  to  Communion,  and  throw  the  discussion 
back,  where  it  properly  belongs,  to  the  Baptismal  question.* 


*  We  propose,  for  the  sake  of  completeness,  to  sustain,  by  quotations 
from  various  eminent  Pedobaptists,  as  well  as  from  several  denomina- 
tional creeds,  our  statement  as  to  the  position  occupied  by  the  Pedoliap- 
tist  world  on  this  subject.  Many  of  these  quotations  are  furnished  ready 
tr  our  use  in  the  works  of  Howell  and  Taylor.  And,  first,  we  may  simply 
refer  to  a  number  of  accredited  writers,  representing  every  age,  from  that 
immediately  succeeding  the  apostolic,  to  the  present  time. 

"Justin  Martyr  wrote  about  A.  D.  150,  not  more  than  fifty  years  after 
the  death  of  tlie  Apostle  John  Cn  the  subject  before  us  Apol.  2, 
p.  1G*J,  apud  Suicerus — he  says  :  "  This  food  is  called  by  us  the  Eucha- 
rist, of  wliich  it  is  not  lawfulYor  any  to  partake,  but  such  as  believe  tho 
things  that  are  taught  by  us  to  be  true,  and  have  been  baptized." 


THE  CHRISTIAN  REVIEW. 

VOLUME    TWENTY-TIIllEK. 

This  Quarferl}-,  during  its  career  of  twenty-two  'years,  ling  enjoyetl  hi;?h  favor 
among  ministers  and  laymen  throughout  the  country,  and  has  received  the  wurmest 
commendation  from  the   Pre??. 

It  is  filled  with  PAID  articles  CONTRIBUTED  FOR  ITS  PAGES  by  the  BEST 
WRITERS  of  the  Baptist  and  other   denominations,  in  this  country  and  in  Europe. 

These  articles  consist  of  Litcrnrv,  Scientific,  Philosophical  and  Theological  Esasys, 
Criticisms, .  Exegeses,  Historical  and  Biognphical  Sketches,  Summaries  of  Literary 
and  Theological  Intelligence, Notices  ar.d  Reviews  of  New  Publications,  and  a  carefully 
prepared  Ecclesiastical  Record.    Each  number  contains  160  pages,  octavo. 

As  heretofore,  it  will  advocate  Baptist  views,  yet  will  be  Catholic  ia  spirit.  It  is 
neutral  in  politics,  and  knows  neither  NORTll' NOR  SOUTH,  neither  EAST  NOR 
WEST. 

All  arrearages  for  the  past  three  volumes  of  the  Review  belonj,'  to  the  new  proprietors. 

A  LIMITED  NUMBER  D/"  Zy.lCA"  rOZt'^Vi:^ (including  a  few  complete  Bets,) 
ARE  FOi:   ^'  \f  r.  at  $1,  50  PER    VOL. 

LIBERAL   PROPOSITION. 

With  the  hope  of  largely  increasing  its  circulation,  the  proprietors  propose — 

That  any  person  who  shall  obtain  one  new  subscriber  and  remit  three  dollars,  shall  bo 
entitled  for  every  such  .'UhMriber,  to  one  volume  of  the  Review  of  cither  of  the  follow- 
ing years— 1851— lS54—lS.i5— 1856— 1857. 

Fur  two  new  fubscribcrs.  with  a  remittance  of  six  dollars,  he  frhall  bo  entitled  to  a 
c«^|y  of  the  Re\iew  for  1S58. 

Pastors  and  others  who  nprrcciatc  the  value  of  a  Baptist  Quarterly,  arc  requested  to 
avail  llicmtthcs  of  this  oftir. 


TERMS. 

The  Christian  Review  is  published  quarterly,  in  Januarv.  April,  July  and  October,  nt 
THREE  DOLLARS  PER  ANNUM,  IN  ADVANCE,  'if  not  paid  within  the  year 
Tljrce  Dollars  and  Fifty  Cents. 

1.  Subscribers  who  pay  Three  Dollars,  in  of^ro/fc*?,  will  be  entitled  to  payment  of 
postage  on  all  numbers  issued   after  the  receipt  of  the  money. 

2.  Subscribers  who  pay  FIVE  DOLLARS,  i/»  o<Zcrt;ire  will  be  entitled  to  one  copy 
a  year,  for  two  years,  postage  paid. 

4.  To  Theological  Students  and  Young  Men's  Christian  Associations,  the  Review 
is  furnished  at  Two  Dollar?  a  year,  when  paid  strictly  in  advance;  otherwise,  the  regu- 
lar price,  three  dollar.",  will  be  charged. 

5.  It  is  a  standing  rule  of  the  ofllce  to  send  the  Review  to  those  subscribers  who  di 
not  give  notice  of  discontinuance  before  arrangements  are  made  and  expenses  incurred 
for  a  new  volume,  whith  is  by  the  first  of  December.  And  even  when  duo  notice  ».■< 
given,  the  work  will  not  be  discontinued  until  all  arrearages  are  paid,  unless  at  the  dis- 
cretion of  the  Publishers. 

Be  particular,  in  remitting,  to  mention  the  i/fTwr  of  the  Stnfc,  and  the  Potit  OJice  nt 
which  the  Review  is  received.  Also,  in  giving  notice  of  changes  of  address,  note  where 
it  has  been  taken. 

SUBSCRIBERS  ARE  EARNESTLY  REQUESTED  TO  INFORM  THE  PRO- 
PRIETORS WHEN  THEY  FAIL  TO  RECEIVE  THEIR  M  MUEUS. 

Payments  may  be  made  by  drafts,  gold  or  bills, sent  h'/  )nail,  at  the  ri^k  of  the  pro- 
prietors. 

SUBSCRIBERS  ARE  EARNESTLY  REQUESTED  TO  REMIT  AT  ONCE  THE 
AMOINT  THAT  TIIKV  (»WK.  AS  THE  EXPENSES  OF  THE  REVIEW  ARE 
HEAVY  AND  MUST  BE  PROMPTLY  MET. 

RECEIPTS  WILL  BE  ENCLOSED  IN  THE  NUMBER  SUCCEEDING  THE 
PAYMENT. 

All  letters  must  be  addressed  "  Christian  Review,  Baltimore,  Md." 


OPINIONS  OP  THE  PRESS. 


THE  CHRISTIAN  REVIEW  HAS  .AN  HONORABLE  HISTORY.-Thc  number  is  not 
small  who  have  been  its  Cv.ustant  readers  ever  since  it  was  started.  The  first  number  of 
If*.?*  is  as  worthy  of  lienisal  now,  as  when  first  iTi-iuted.  It  has  collected  and  preserved  a 
body  of  literature,  much  Jiaving  a  h  storical  and  clenominational  value,  which  else  had  been 
iost.  We  need  it  to-day  as  much,  and  more,  than  ever.  It  cannot  be  dispensea  with  ;  it  meets, 
better  far  llian  any  other  Quarterly,  the  wants  of  our  ministry  and  membership.— I ra<c-V 
man  and  Hc^flcctor,  Boiton, 

We  hope  to.  see  llio  Review  more  extensively  circulated  in  the  Western  States.  It  is  invalu- 
able to  ministers,  and  to  all  who  prize  a  pure  and  vigorous  denominational  literature. —  Wester r. 
Watchman,  St.  Louia,  Missouri. 

This  Baptist  Quarterly  has  been  the  vehicle  for  the  prodiictions  of  jnany  of  our  ablest  thoolo 
elans  and  writers.  It  lias  now  lallen  into  the  hands  ol  those  wlio  Avill  not  Vtrniit  it  to  deteriorate 
irom  its  well  earned  reputation.  Baltimore,  from  its  central  position,  is  tlie  most  favorable 
location  that  could  be  srlccted  for  a  periodical  intended  to  siibsevve  tlie  interests  of  the  whole 
ilcuomination,  North,  South,  East  and  West. — litligious  Herald,  Kichmond,  Va.  -^ 

We  have  the  fullest  confidence  in  the  ability  and  disposition  of  the  new  proprietors,  to  make 
tlie  work  in  every  respect  what  it  should  be  as  a  Christian  licvicv',  leflecting  honor  on 
lliemselves,  on  tlie"  churches,  and  the  cau^e  of  Christ  generally.  Wc  hope  the  pastors  and 
the  membership,  both  North  and  South,  will  feel  the  deepest  interest  in  the  future  history 
of  this  dencniinational  Mork,  and  by  tlieir  communications  and  contributions,  do  what  they 
can  to  make  it  a  noble  thing,  justly  ranking  with  that  issued  at  A ndover,  under  the  auspices 
of  that  sclioolof  the  Prophets.  This  work  has  b'<t>n  in  e.sistenco  twenty-one  years.  It  has 
maintained  a  high  char;'.cter,  in  a  literary  and  theological  point  of  xiow,  and  has  .justly  won 
iho  warm  approVal  of  all  tranches  of-the  Christian  Church.  It  ought  to  be  regarded  as  a  nation- 
al work,  knowing  nothing  of  a  sectional  nature  ;  and  as  such  ought  to  be  generously  circulated 
both  North  and  South.--  We  wish  it  the  highest  success,  and  shall  over  welcoine  it  to  our  table 
and  treat  it  with  all  the  respect  of  an  old  and  valued  Iriend.  We  hope  no  subscriber  will  wit  i- 
tiraw  his  name  because  emigrated  to  a  more  southern  latitude.— C/ou/m/i  Chronick,Philadrlphia. 

This  stately  Review  of  twenty-two  years  standing,  is  now  fairly  domesticated  as  a  literary 
f  entre  lor  the  Baptist  denominat'ion  of  this  country.      It  deserves  a  national  circulatiou,  and  a  • 
tliree-lold  increase.— iSo!(//u/n  hapdht,  Lharlatvn,  S.  C. 

We  hope  The  Christian  Rf  view  will  still  have  the  fostering  support  rf  American  Baptists.— 
Of  this  it  seems  determined,  in  the  new  hands  into  which  it  lias  passed,  to  show  itself  worthy. 
—  Watchman  end  llrjUctor,  Boston,  Mass. 


TO  CONTRIBUTORS. 


1.  Short  articles  arc  nlwnvs  preferred,  and  7?fnVjr.<f,  Kxcgt?c>.  or  Di:^CllSsious  of 
"Living?'  Questions,  ratlier  tluin  Essays  on  General  Subjects. 

'1.  The  Kditors  nn.st  be  the  sole  judges  as  to  the  propriety  of  publishing  articles 
f^ubinitted,  and  as  to  the  lime  of  their  jiublicatiou. 

3.  Rejected  i.rtit  lis  arc  uct  rtti;rntd,  unless  by  special  request. 


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